Collaborative Inquiry as a tool to Develop Critical Perspectives on Human Rights
Kathy G. Short and Aura Gonzales and Yu-Ying Hou
This session was an overview of a school's study of human rights and contained examples from a third and fifth grade classroom. At the heart of this study was how to help students gain critical literacy skills. My notes here are more general for literacy; see me for more specific information on the human rights study, and a children's book list.
Remember what your end goal is in your teaching, and that WHAT you are doing is just the vehicle to get there. For instance, you are not teaching a specific book, but rather the skills a reader needs to read any book.
Dialogue has two dimensions: reflection and interaction
Inquiry: a process of connecting to and reaching beyond current understandings to explore tensions significant to the learner. Problem posing. Identifying issues that are real in their lives. To question what is. A stance of uncertainty and an invitation to investigation. *must be a sense of invitation to explore it *stance of feeling unbalanced, need to change *Dewey: tension drives learning
Powerful, in-depth questions come in the middle of the study. You can’t think critically about something you don’t know anything about.
Processes of Inquiry 1.Connection with children’s life experiences. Must start where students are. Consider all voices. 2.Challenging children to go beyond their current experiences and perspectives. 3.Engaging in dialogue on issues to see others’ perspectives. 4.Develop conceptual understanding.
* Reading Matters: Strategies and Tools to Engage Young Readers in a 21stCentury World
Laura Robb, Debbie Diller, and Carol Varsalona
The Case for Differentiating Instruction in all Subjects Laura Robb
We deliver the same program and our instruction based on the assumption that all students come to our class with the same experiences and knowledge and interests.
Collaboration is one of the hallmarks of 21st century teaching and relevance to the world around them.
*Consider reading partnerships, see Kathy Collins.
Consider the children who come to us. Children who do not want to read and write often have big literacy lives outside of classroom.
Workshop approach: Everyone is reading a book around one theme that is on her or his level. 3 Layers of Instruction: 1. Instructional Read Aloud in addition to read-aloud of enjoyment discuss what happens in your head and in your heart when reading to give purpose *Choose anchor text, prefer picture book. *This book becomes anchor you go back to again and again. *Choose genre and genre structure: Children need to know how the genre works in order to navigate it. *Essential Question: (depends on book) Example: What does the hero or heroine value and how does it effect his decisions? Model critical, analytical writing. *Model reading strategy.
Key Phrases: I am going to stop and think. (Modeling reflective reading.) I am going to show you what goes on in my mind. Notice what I did. (Then tell them what it is you did.) 2. Instructional Reading: Differentiated and meets students’ needs. 3. Independent Reading: 30-50 books a year. OR 60 minutes a day.
Meaningful Independent Practice through Literacy Work Stations Debbie Diller, www.debbiediller.com
Start with whole group instruction that engages learners
Proximity breeds engagement.
Model, model, model. Use explicit language.
Independent practice is only as strong as the instruction before it. Workstations should be jobs that have been taught many times and can be done successfully and independently by all students.
If you want to improve output (what students produce), you have to improve input (what you teach and the experiences you create). *When students make a connection to text while you are reading aloud, have them make fingered circles together. *turn and talk *make anchor charts with the kids for things they have trouble remembering -use kid-friendly language with pictures -example: how to infer, draw picture of kid inferring
literacy work-stations with partners -opportunity to work with partner and be social, use oral language -20 minutes each, go to 1 or 2 a day -Work with materials you have taught with and modeled with -Some stations are stationary, and some are portable. -Poetry Station: have basket of books with critical thinking questions on outside -Observation Station: Talk, read, or write about a thing kids are wanting to look at anyway -make sure what is in the station are things they CAN do and are not too hard -write directions for station with students -connect content
Work Stations are authentic literacy jobs Either reading, writing, speaking (and speaking about what they are reading, Writing, and thinking), or listening *
Independencein the Primary Writing Workshop
Matt Glover, Katie Ray, Itsoke Nia
Writers must learn to become independent in the writing process or it doesn’t matter what they know as writers, because they are not able to do it without someone telling them what to do next. This relates back to the initial statement that you need to teach the end goal: teach the WRITER (teach general writing skills), not the writing (or individual pieces).
Part of becoming independent as a writer is sitting in front of a blank sheet and having to create something. A prompt chosen by the teacher does not invite the child to create. Matt Glover: Role Motivation Plays in Becoming Independent
Start out year with: Someone made this book, and you can make books too.
What leads to such young students (Matt's book is aimed at pK-1st grade writers) working so independently? *making books *composition-- illustrations and words *choice to write *choice of topic: when we try to tell them what to write about you won’t get independence of stamina *choice of genre
Early on, we are going to value list books and stories equally. (I heard Isoke Nia speak a few years ago about starting the first grade year out with list books rather than stories, as first graders naturally write in a list format...I went on vacation. I swam. I stayed in a hotel. I played. I saw my grandma.) Students should choose the genre to write in at the beginning, and then have choice throughout the year.
They will have different types of energy for different types of books.
Implications:
In preschool, they should always be choosing the type of book they are making.
In the primary grades children should have opportunities at different points during the year to choose the type of book they are making, in particular at the beginning of the year. (I think he is open to genre studies, where students HAVE to write a certain genre, but they should have some times that they can choose what genre to write in.) *Possible Beginning of Year Units (not genre specific) -Logistics and Routines -Where do writers get ideas? -Drawing for meaning -reading like a writer -genre overview (the types of books we will be making this year)
Supporting Young Writers with Nonfiction Text Structure Itsoke Nia
Spend part of year that is genre specific, and part of year that is choice.
Grow your teaching from what they already do. Teach them how to do it better.
Literary Nonfiction Structures that we (first graders) noticed: *question and answer *general to specific *chapter book *following a single one of a species *personification
Start with what they can do it, so that they have the energy and passion for it later in the year. Create a passion for making those things.
Have a stack of books, but also a structure basket (how author organized those words). *Once information is on index cards, have students bring them to carpet and practice structure outloud. Example: Who can take your cards and create a structure like the one In the book we read yesterday? (Share outloud) *Each student tries out at least 3 outloud, and then make decision on how to best structure their best.
Independence depends on passion. Can be passionate about: *topic *tools you are using *act of writing itself *about the time you spend in writing *structure, like the way it goes and moves
Students commit to writing because they are passionate about one of these things.
If they are independent, what they learn, THEY LEARN. They just don’t make pieces that make us feel good, but learning about the world.
When they are independent, you have to let them make the decisions on their own and they have to believe that what they do comes from them. Your way becomes their way. They need to recognize that they can do what you’re trying to teach them to do.
Independence is about making conscious decisions about their own work. This has huge implications on how we talk about books we read aloud: Someone wrote this book and made certain decisions about what to put in this book, and you can make decisions like this writer. Book examples: “Who you callin’ chicken?” “Leaving Home”, “Mosquito Bite”, “Why?” “Leaving Home,” “Atlantic”, “Do they scare you?” “The Big Blue Whale”
Supporting Independence in Young writers Through Talk Katie Wood Ray (She suggested everyone read "Choice Words" by Johnston. I started reading, and I completely agree!)
We construct our identity through talk and the things we tell people about ourselves. When people ask what we have been up to, what we choose to include in our answer says a lot about who we are and what we value.
Being independent in the world has a lot to do with knowing ourselves.
It is important to think about how we answer questions about ourselves, but also the kinds Of questions that we ask students. *We ask people questions that we think they have the answer to. Asking your students a question communicates your belief that they are the types of people who know the answer. *We need to help students understand that they are the kind of people who have the answers we need.
If kids weren’t making process for themselves but instead everyone was being walked through the process, you don’t have anything to talk about. “I’m doing it this way because you told me to.”
Choice words: Phrases that communicate your belief in students and set a certain standard and expectation: I watched him today… Look at the thinking she’s done with this…. Talk about this page…. You remind me of So you’re one of those, you write your words first Did you illustrate and then write? How are you using the book to help you write? I do the same thing. So, we’ve seen it before, she’s even illustrated it.
Have to start it in early grades or they won’t be able to do it later on. Hard for kids to start creative work if they have always been told what to do. When you give a kdg or 1st grader a blank sheet and tell them they will write, they do it because they don't know any differently. It is very hard to give a 4th grader a blank sheet who has never had a blank sheet and expect them to create on their own. Think about the implications on a high schooler or an adult who has never been expected to create from a blank slate.
Question from the audience: What if student's passion is something weird and doesn't lend itself to good stories (like video games)? Help that child find a way to take that topic and make it something that is good to write about. Move a video game writer (a play-by-play of what Mario does in his galaxy) to a video game reviewer.
* Making Big Meaning: A few ideas about deepening comprehension and Engagement Ginny Lockwood, Kathy Collins, Stephanie Parsons
Ginnylockwood.com, kathycollins15@yahoo.com, StephanieParsons.com
(FYI: I have a big crush on Lester Laminack and he was sitting RIGHT behind me. The fact that these notes are so detailed shows how much I enjoyed it, that their information was interesting enough to keep me focussed on them and not how I could get Lester to hang out with me post-conference.)
Ginny Lockwood: What is Reading?
Reading, when engaged and successful, calls us to action…emotional, intellectual, and often social action. (Not sequential or linear.)
Reading can and should change one’s view of the world and how to to live in more aware ways.
Choosing books for read alouds: *what’s grabbing me about this book? *Why did I add it to my stack? *What about this book might grab the hearts and minds of kids? *What are some debates I can imagine engaging in when talking about this book with other readers?
Really big talk can happen with not so provocative books. Just look deeper.
Do not pre-interpret answer to question. Do not ask rhetorical question.
Be careful about all the books being about a BIG idea that is kind of depressing.
The interplay of meaning making; Literal: Holding onto the gist of the story. (essential to get to the higher level) Inferential: Making sense of and thinking more about the story. Unanswerable: Pondering something bigger launched by the story
Give them a little substance: *move beyond the obvious: What else is it about? They should leave pondering other things. Don't just discuss the obvious lesson the book holds, the lesson you can tell by looking at the cover. *imagine possible interpretations *Plan thinking through lenses for critical thinking/analysis *Consider the symbiotic relationship between content and form (talk expands meaning) -takes a lot of talk and back and forth to come to the deeper level
INVITE and EXPOSE, do not impose. Do not impose your thoughts and passions. Ask what they think of the decision in the book, not what YOU think of it. Your body language should not communicate the answer you expect if you want them to think for themselves.
Consider the unanswerable and debate. Don’t preinterpret their answers, and do not overly guide with your body language.
Books: “A Taste of Colored Water”“The World’s Greatest Elephant”“Mermaid Queen”“Clancy: The Courageous Cow”“Always Copycub”“Two of a Kind”“Across the Alley” Kathy Collins: The Power of Partnership (see Dick Allington)
(Her book, "Growing Readers," is EXCELLENT.)
*Students need regular opportunities for self-initiated conversations about their books.
*Need time to meet with their partners everyday.
*Cooperation, Conversation, and Collaboration
*Reading partnerships are an essential structure in balanced lit. framework
Teaching toward Higher Level Reading Partnerships Early/beginning readers 1.Pick a book (ones that 2 people can look at, not chapter book) 2.Read the book a.Choral reading b.Echo Read c.One person reads whole book, the other reads the whole book (when one person is reading, the other books are on deck) 3.Talk about the book 4.Repeat: Go to the next book. Transitional and Proficient Readers ·Book Twins: reading same book ·Series/Author/Theme Partners ·Book Swap ·Book Hosts: Good hosts show you around. Let them know what’s going on.
Content of Teaching for Higher Level Partnerships We teach strong talk in general and strong book talks, specifically We consider attentional following vs. attentional shifting when we’re scaffolding Conversations: Make sure they are getting better all year. We participate in partnerships with intention in various ways for various reasons What are characteristics for good conversations?
Attentional following: going with their conversations
Attentional shifting: changing the subject and making them take it on
Instead of shifting, follow it a little and then lift the level.
Work to establish partnerships must be strategic and purposeful.
She partners students based on ability so that readers can support one another and work on what they are working on together, rather than one partner taking on the responsibility of decoding and taking responsibility from partner.
Dramatization: Breathing life intoReading Stephanie Parsons
Creating a dialogue between reader and book.
Reading isn’t happening in the book: the action is happening between reader and book.
Act of getting involved in book. *connect into book *feel, or begin to feel, the things the character is feeling (and not just being able to say that’s how they feel) *comprehend *interpret *empathize: making a deep personal connection (not just grandma makes bread, but my grandma is warm and love and all that too)
Dramatization with Fiction
Endow characters with voice. Invite reader to say what the character would say.
Endow characters with thoughts. Invite reader to verbalize what the character is thinking.
Collaborative Inquiry as a tool to Develop Critical Perspectives on Human Rights
Kathy G. Short and Aura Gonzales and Yu-Ying Hou
This session was an overview of a school's study of human rights and contained examples from a third and fifth grade classroom. At the heart of this study was how to help students gain critical literacy skills. My notes here are more general for literacy; see me for more specific information on the human rights study, and a children's book list.
Remember what your end goal is in your teaching, and that WHAT you are doing is just the vehicle to get there. For instance, you are not teaching a specific book, but rather the skills a reader needs to read any book.
Dialogue has two dimensions: reflection and interaction
Inquiry: a process of connecting to and reaching beyond current understandings to explore tensions significant to the learner. Problem posing. Identifying issues that are real in their lives. To question what is. A stance of uncertainty and an invitation to investigation.
*must be a sense of invitation to explore it
*stance of feeling unbalanced, need to change
*Dewey: tension drives learning
Powerful, in-depth questions come in the middle of the study. You can’t think critically about something you don’t know anything about.
Processes of Inquiry
1. Connection with children’s life experiences. Must start where students are. Consider all voices.
2. Challenging children to go beyond their current experiences and perspectives.
3. Engaging in dialogue on issues to see others’ perspectives.
4. Develop conceptual understanding.
*
Reading Matters: Strategies and Tools to Engage Young Readers in a 21st Century World
Laura Robb, Debbie Diller, and Carol Varsalona
The Case for Differentiating Instruction in all Subjects
Laura Robb
We deliver the same program and our instruction based on the assumption that all students come to our class with the same experiences and knowledge and interests.
Collaboration is one of the hallmarks of 21st century teaching and relevance to the world around them.
*Consider reading partnerships, see Kathy Collins.
Consider the children who come to us. Children who do not want to read and write often have big literacy lives outside of classroom.
Workshop approach: Everyone is reading a book around one theme that is on her or his level.
3 Layers of Instruction:
1. Instructional Read Aloud
in addition to read-aloud of enjoyment
discuss what happens in your head and in your heart when reading to give purpose
*Choose anchor text, prefer picture book.
*This book becomes anchor you go back to again and again.
*Choose genre and genre structure: Children need to know how the genre
works in order to navigate it.
*Essential Question: (depends on book) Example: What does the hero or heroine
value and how does it effect his decisions? Model critical,
analytical writing.
*Model reading strategy.
Key Phrases:
I am going to stop and think. (Modeling reflective reading.)
I am going to show you what goes on in my mind.
Notice what I did. (Then tell them what it is you did.)
2. Instructional Reading: Differentiated and meets students’ needs.
3. Independent Reading: 30-50 books a year. OR 60 minutes a day.
Meaningful Independent Practice through Literacy Work Stations
Debbie Diller, www.debbiediller.com
Start with whole group instruction that engages learners
Proximity breeds engagement.
Model, model, model. Use explicit language.
Independent practice is only as strong as the instruction before it. Workstations should be jobs that have been taught many times and can be done successfully and independently by all students.
If you want to improve output (what students produce), you have to improve input (what you teach and the experiences you create).
*When students make a connection to text while you are reading aloud, have them make fingered circles together.
*turn and talk
*make anchor charts with the kids for things they have trouble remembering
-use kid-friendly language with pictures
-example: how to infer, draw picture of kid inferring
literacy work-stations with partners
-opportunity to work with partner and be social, use oral language
-20 minutes each, go to 1 or 2 a day
-Work with materials you have taught with and modeled with
-Some stations are stationary, and some are portable.
-Poetry Station: have basket of books with critical thinking questions on
outside
-Observation Station: Talk, read, or write about a thing kids are wanting
to look at anyway
-make sure what is in the station are things they CAN do and are not too hard
-write directions for station with students
-connect content
Work Stations are authentic literacy jobs
Either reading, writing, speaking (and speaking about what they are reading,
Writing, and thinking), or listening
*
Independence in the Primary Writing Workshop
Matt Glover, Katie Ray, Itsoke Nia
Writers must learn to become independent in the writing process or it doesn’t matter what they know as writers, because they are not able to do it without someone telling them what to do next. This relates back to the initial statement that you need to teach the end goal: teach the WRITER (teach general writing skills), not the writing (or individual pieces).
Part of becoming independent as a writer is sitting in front of a blank sheet and having to create something. A prompt chosen by the teacher does not invite the child to create.
Matt Glover: Role Motivation Plays in Becoming Independent
Start out year with: Someone made this book, and you can make books too.
What leads to such young students (Matt's book is aimed at pK-1st grade writers) working so independently?
*making books
*composition-- illustrations and words
*choice to write
*choice of topic: when we try to tell them what to write about you won’t get
independence of stamina
*choice of genre
Early on, we are going to value list books and stories equally. (I heard Isoke Nia speak a few years ago about starting the first grade year out with list books rather than stories, as first graders naturally write in a list format...I went on vacation. I swam. I stayed in a hotel. I played. I saw my grandma.) Students should choose the genre to write in at the beginning, and then have choice throughout the year.
They will have different types of energy for different types of books.
Implications:
In preschool, they should always be choosing the type of book they are making.
In the primary grades children should have opportunities at different points during the year to choose the type of book they are making, in particular at the beginning of the year. (I think he is open to genre studies, where students HAVE to write a certain genre, but they should have some times that they can choose what genre to write in.)
*Possible Beginning of Year Units (not genre specific)
-Logistics and Routines
-Where do writers get ideas?
-Drawing for meaning
-reading like a writer
-genre overview (the types of books we will be making this year)
Supporting Young Writers with Nonfiction Text Structure
Itsoke Nia
Spend part of year that is genre specific, and part of year that is choice.
Grow your teaching from what they already do. Teach them how to do it better.
Literary Nonfiction Structures that we (first graders) noticed:
*question and answer
*general to specific
*chapter book
*following a single one of a species
*personification
Start with what they can do it, so that they have the energy and passion for it later in the year. Create a passion for making those things.
Have a stack of books, but also a structure basket (how author organized those words).
*Once information is on index cards, have students bring them to carpet and
practice structure outloud.
Example: Who can take your cards and create a structure like the one
In the book we read yesterday? (Share outloud)
*Each student tries out at least 3 outloud, and then make decision on how to
best structure their best.
Independence depends on passion. Can be passionate about:
*topic
*tools you are using
*act of writing itself
*about the time you spend in writing
*structure, like the way it goes and moves
Students commit to writing because they are passionate about one of these things.
If they are independent, what they learn, THEY LEARN. They just don’t make pieces that make us feel good, but learning about the world.
When they are independent, you have to let them make the decisions on their own and they have to believe that what they do comes from them. Your way becomes their way. They need to recognize that they can do what you’re trying to teach them to do.
Independence is about making conscious decisions about their own work. This has huge implications on how we talk about books we read aloud: Someone wrote this book and made certain decisions about what to put in this book, and you can make decisions like this writer.
Book examples: “Who you callin’ chicken?” “Leaving Home”, “Mosquito Bite”, “Why?” “Leaving Home,” “Atlantic”, “Do they scare you?” “The Big Blue Whale”
Supporting Independence in Young writers Through Talk
Katie Wood Ray (She suggested everyone read "Choice Words" by Johnston. I started reading, and I completely agree!)
We construct our identity through talk and the things we tell people about ourselves. When people ask what we have been up to, what we choose to include in our answer says a lot about who we are and what we value.
Being independent in the world has a lot to do with knowing ourselves.
It is important to think about how we answer questions about ourselves, but also the kinds
Of questions that we ask students.
*We ask people questions that we think they have the answer to. Asking your students a question communicates your belief that they are the types of people who know the answer.
*We need to help students understand that they are the kind of people who have the answers we need.
If kids weren’t making process for themselves but instead everyone was being walked through the process, you don’t have anything to talk about. “I’m doing it this way because you told me to.”
Choice words: Phrases that communicate your belief in students and set a certain standard and expectation:
I watched him today…
Look at the thinking she’s done with this….
Talk about this page….
You remind me of
So you’re one of those, you write your words first
Did you illustrate and then write?
How are you using the book to help you write?
I do the same thing.
So, we’ve seen it before, she’s even illustrated it.
Have to start it in early grades or they won’t be able to do it later on. Hard for kids to start creative work if they have always been told what to do. When you give a kdg or 1st grader a blank sheet and tell them they will write, they do it because they don't know any differently. It is very hard to give a 4th grader a blank sheet who has never had a blank sheet and expect them to create on their own. Think about the implications on a high schooler or an adult who has never been expected to create from a blank slate.
Question from the audience: What if student's passion is something weird and doesn't lend itself to good stories (like video games)? Help that child find a way to take that topic and make it something that is good to write about. Move a video game writer (a play-by-play of what Mario does in his galaxy) to a video game reviewer.
*
Making Big Meaning: A few ideas about deepening comprehension and Engagement
Ginny Lockwood, Kathy Collins, Stephanie Parsons
Ginnylockwood.com, kathycollins15@yahoo.com, StephanieParsons.com
(FYI: I have a big crush on Lester Laminack and he was sitting RIGHT behind me. The fact that these notes are so detailed shows how much I enjoyed it, that their information was interesting enough to keep me focussed on them and not how I could get Lester to hang out with me post-conference.)
Ginny Lockwood: What is Reading?
Reading, when engaged and successful, calls us to action…emotional, intellectual, and often social action. (Not sequential or linear.)
Reading can and should change one’s view of the world and how to to live in more aware ways.
Choosing books for read alouds:
*what’s grabbing me about this book?
*Why did I add it to my stack?
*What about this book might grab the hearts and minds of kids?
*What are some debates I can imagine engaging in when talking about this
book with other readers?
Really big talk can happen with not so provocative books. Just look deeper.
Do not pre-interpret answer to question. Do not ask rhetorical question.
Be careful about all the books being about a BIG idea that is kind of depressing.
The interplay of meaning making;
Literal: Holding onto the gist of the story. (essential to get to the higher level)
Inferential: Making sense of and thinking more about the story.
Unanswerable: Pondering something bigger launched by the story
Give them a little substance:
*move beyond the obvious: What else is it about? They should leave pondering
other things. Don't just discuss the obvious lesson the book holds, the lesson you can tell by looking at the cover.
*imagine possible interpretations
*Plan thinking through lenses for critical thinking/analysis
*Consider the symbiotic relationship between content and form (talk expands
meaning)
-takes a lot of talk and back and forth to come to the deeper level
INVITE and EXPOSE, do not impose.
Do not impose your thoughts and passions.
Ask what they think of the decision in the book, not what YOU think of it. Your body language should not communicate the answer you expect if you want them to think for themselves.
Consider the unanswerable and debate. Don’t preinterpret their answers, and do not overly guide with your body language.
Books: “A Taste of Colored Water” “The World’s Greatest Elephant” “Mermaid Queen” “Clancy: The Courageous Cow” “Always Copycub” “Two of a Kind” “Across the Alley”
Kathy Collins: The Power of Partnership (see Dick Allington)
(Her book, "Growing Readers," is EXCELLENT.)
*Students need regular opportunities for self-initiated conversations about their books.
*Need time to meet with their partners everyday.
*Cooperation, Conversation, and Collaboration
*Reading partnerships are an essential structure in balanced lit. framework
Teaching toward Higher Level Reading Partnerships
Early/beginning readers
1. Pick a book (ones that 2 people can look at, not chapter book)
2. Read the book
a. Choral reading
b. Echo Read
c. One person reads whole book, the other reads the whole book (when one person is reading, the other books are on deck)
3. Talk about the book
4. Repeat: Go to the next book.
Transitional and Proficient Readers
· Book Twins: reading same book
· Series/Author/Theme Partners
· Book Swap
· Book Hosts: Good hosts show you around. Let them know what’s going on.
Content of Teaching for Higher Level Partnerships
We teach strong talk in general and strong book talks, specifically
We consider attentional following vs. attentional shifting when we’re scaffolding
Conversations: Make sure they are getting better all year.
We participate in partnerships with intention in various ways for various reasons
What are characteristics for good conversations?
Attentional following: going with their conversations
Attentional shifting: changing the subject and making them take it on
Instead of shifting, follow it a little and then lift the level.
Work to establish partnerships must be strategic and purposeful.
She partners students based on ability so that readers can support one another and work on what they are working on together, rather than one partner taking on the responsibility of decoding and taking responsibility from partner.
Dramatization: Breathing life into Reading
Stephanie Parsons
Creating a dialogue between reader and book.
Reading isn’t happening in the book: the action is happening between reader and book.
Act of getting involved in book.
*connect into book
*feel, or begin to feel, the things the character is feeling (and not just being able to
say that’s how they feel)
*comprehend
*interpret
*empathize: making a deep personal connection (not just grandma makes bread,
but my grandma is warm and love and all that too)
Dramatization with Fiction
Endow characters with voice. Invite reader to say what the character would say.
Endow characters with thoughts. Invite reader to verbalize what the character is thinking.